Review

Review Summary: Deformed harvest here only grows, from the boneyard, the tale of sorrows...

In Hungarian mythology, Ördög is a demonic creature that personifies the dark and evil aspects of the world, much like what Satan personifies in the Christian world. And that's definitely what Ordog (the band) tries to personify with their music. Ordog's biggest influence is life itself, as insignificant as it is. Aleksi Martikainen, Ordog's lead vocalist, said "my biggest influences are my own dark and twisted mind, and memories full of distress and misfortune." I think its safe to say misanthropy plays a critical role in Ordog's songwriting process, and is an integral part of their music.

Ordog hails from Finland - a cesspool for awesome music.

This is Ordog's third release. Crow and the Storm in 2006, and Life is too Short for Learning to Live in 2008 are its two predecessors. This is by far their longest release to date; at one hour and nine minutes in length, it beats their next longest release by twenty-three minutes.

In 2011 Mournful Congregation's The Book Of Kings had its brilliant moments, but overall I couldn't help dreading the enormous assemblies that laid before me, especially the title track. Ordog's Remorse doesn't have that problem, even though it's an enormous assembly itself, and because there's not that feeling of dread I feel it's a better album as a whole. There are a few select parts of The Book of Kings that will just knock you dead, but there was also a lot of "meh" on it as well. This record, while still containing a certain amount of "meh" (as almost any doom record will), is chock-full of deep riffs and rich atmosphere. There are many more minutes of material I'll be listening to over and over in the future on this record. It would certainly be out of place to call this symphonic doom, but there are keyboards and pianos present. Keyboards appear on "Shadowland" and "Boneyard Horizon" (which have two of the most memorable keyboard parts), not to play any prominent melody or anything, but to just put a floor on the atmosphere. A memorable piano part is played on "Betrayed," throughout the last half of the song. These things are never the sole focus of attention, or even the primary focus of attention, but they add a really nice, uncommon, layer to Ordog's doom. Contrasted with the slow, heavy riffing, it makes for some really emotional doom in a really unusual way.

The eerie keyboards and the hellish atmosphere will cause listeners to lose grasp on the world around them and drift into a much darker place. "Boneyard Horizon" embodies absolute loss of hope and positivity. The weight of pain, suffering, depression, and remorse seeps into the psyche and leaves the listener devoid of anything that might have once been uplifting.

"Meant to be an End" provides some relief with its soft melodies and brief piano passages, but only for 2:57 before it fades out and brings an end to this seventy minute pillar of remorse and despair.

HIGHLIGHTS: "Human Shell," Betrayed," "Shadowland," "Boneyard Horizon," of which the latter three are the (undisputed) best tracks on the album.